But I really agree that Baymax had to come back in the end. As Tadashi said: The green health chip is what makes Baymax Baymax. As long as that chip was there, Hiro, being a braniac like his brother, could recreate him. And seriously people, don’t only think as a critic, but as a human being: This boy has lost his parents and his brother. Losing his best friend, who is like a surrogate/parallel of his brother, would be just TOO harsh. Maybe it’s just me being biased, but I couldn’t have handled losing Baymax, too.

And the thing about the villian: Of COURSE everyone thought Tadashi could be the villian, and though that would have been a very Hans-esque revelation, but it would have made ABSOLUTELY. NO. FRICKING. SENSE. Think. about. it.
I would have been totally heartbroken and disappointed. No no no.
Krei would have been very clicheé, so this could be ruled out pretty soon.
But Callaghan .. hit me really hard. Especially WHY he’d gone evil.
This kind of ‘parallel’ (losing an important person) to Hiro made it so much more .. chilling.
Although I am STILL getting headaches trying to figure out that fire.
Did he really start the fire to extinguish his tracks? (Which wouldn’t make sense because at that point no one expected him to be evil, plus he had JUST found out about the Microbots … right?)
Maybe it was really just an accident which he used to his advantage. And Tadashi .. was really just at the wrong place at the wrong time. (Which makes it even more TRAGIC >O<)
Still .. I think Callaghan was really scary, especially in that scene where he was revealed, and Hiro was totally devastated to find out this man actually DESERTED the guy who gave his life to save him. This still makes me so angry and sad.

Ugh, long post.

This really is a movie that broke my heart into millions of pieces and made me sad and on the other hand made me laugh so hard until my stomach hurt.
Well done, Disney.

Oops, just realized it’s Honey Lemon that was supposedly Hispanic.

I am actually kind of
surprised how long Tadashi was in the film. Usually, movies seem to
like to get those characters out of the way so they can do the “real”
story. Much of your complaints about this have more to do with the
limitation of movies and their 1.5 – 2 hour time frames. If this were a
TV series, Disney would have been able to give more detail on Tadashi
as you wish.

You guys make a great point about the microbots.
How is is that six, super-smart people never thought to create a device
to block the transmissions of the neural device and make the villian
pretty much powerless in an instant? Oops!

Personally I really wouldn’t have minded another half hour or
so to really savor all the characters and environments that this movie
had to offer, most notably Aunt Cass and the amazing layout of her
house/cafe. Really, I’m dying to visit that place! I enter into this rich world with SO much to offer and
experience, but it moves so fast that everything begins to nullify
everything else.

Despite that, I still really loved this movie!
It almost seems selfish to say I wanted more, but when you have such
phenomenal people creating such incredible characters inhabiting a world
so teaming with life, it seems only natural to want to spend as
much there as possible.

Yup true.

Oh…woops forgot to credit the exact person where this info came from. My apologies once again, Rotoscopers.

It all came from Andrew Cripps (former president of Paramount Pictures International and United Internationl Pictures)

Huh. Okay, a lot o this makes sense. Guess it’s not easier to release the film everywhere at the same time.

Man, so many politics behind this.

I’ve heard various reasons why they do this but I suppose all it boils down to is steady cash flow.

(By the way, I apologize in advance since this is way too long. I got this info awhile ago from a page that doesn’t seem to exist anymore LOL.

————————Copied and Pasted————–
Studios split the International market into three main areas:

-Europe
– Far East (including Australasia)
– Latin America

The Distribution Process:

– Distributors will consider their strategies from (at least) four perspectives:
– Global: where will the film work?
– Regional: how will we make it work in (say) Europe?

National: how should we release it in each country?

– Local: are there any particular local conditions that need to be taken into account within each country?
– … the distributor will prepare a Territory Contribution Report identifying the revenue estimates for each market.

The views of senior studio bosses and regional and local managers will also be sought, with screenings held as early as possible to help build up a picture of the film’s estimated International performance.

Campaigns for each title are planned well in advance, taking into account such factors as:

– US release dates
– Competitors’ release schedules (information is generally shared between the majors to avoid clashes wherever possible)
– The distributors’ annual budget and the rest of their slate for the year seasonal positioning (to take account of holiday periods, relevant awards ceremonies, other local factors)
– The strategy and timing of the release will also take into account:
– censorship issues – when and how must the film be submitted for classification?
– translation for sub–titling and dubbing
– publicity screenings
– availability of key talent for promotional purposes
– availability of key media in each territory
– any promotional tie–ins and when the partners will be spending their money
– any additional local factors
– Day and Date Distribution:

With the various exploitation windows closing, there is an increasing trend towards films being released internationally on the same day as (or close to) their North American release.

This has the advantages of

– reducing the opportunities for piracy
– enabling marketing campaigns from the US to roll over into other territories
– and allowing earlier exploitation of other windows.

On the other hand, day and date releasing requires new prints and means that marketing spend must be committed internationally before the studio knows how the film has played in the US.

It also reduces the time that the distributors have for sorting out dubbing, classification and other issues in each territory and makes it less likely that the talent will be available to promote it in as many markets.

People. People. We can all agree that Tangled, the Rachael Leigh Cook movie from 2001, is terrible.